Further After Effects Experimentation
Dreamy Effect
(Conducted 14/03/24)
For my title sequence I was considering using this type of "dreamy" effect overlay in one scene. It was quite easy to pull off, but gives off an effective look that perfectly conveys what I want. From this task I have learned more about how to make interesting filters in after effects, and going forward I hopefully will make use of this in a scene I had an idea for.
Rust Effect
(Conducted 18/03/24)
After doing some planning I figured that I would need to learn how to do an effect of this sort, as I'm planning to apply it onto some of my motion graphics elements, such as text and shapes. This is a rust effect, that I wanted to learn as to utilise it on some of my motion graphics.
And here is a personal experiment, playing around with some of the effects available in the after effects software, strengthening my skills and knowledge with the software for the coming production stage. The purpose of this was to try and gain some freedom with the after effects program, learning how to navigate and figure things out on my own. Going forward this will really help me in the production stage, to allow me to work better independently.
Clouds
(Conducted 19/03/24)
During my planning if figured that I might want to transition through the clouds at some point, so I needed to learn how to put together a decent looking clouds effect. This is a cloud effect that I made to use for a great transition in my final product.
Rust Effect 2
(Conducted 24/03/24)
I wanted to learn a more advanced rust effect, to really showcase some more in-depth skills and techniques in my title sequence. Aside from the rust effect, this tutorial also taught a myriad of other cool tricks into my skillset, like the 3D and bevel and emboss effect. The purpose of this task was to build up an arsenal of more impressive effects, to improve my overall skills and final product.
3D Camera
(Conducted 24/03/24)
This was a very simple test to learn the absolute basics of the 3D camera in after effects. I plan to use this on my train in the final sequence, animating it all in 2D motion graphics like usual, but using the 3D camera to give it a slight side-view and sense of depth. This idea of 3D-esque 2D motion graphics was inspired by the MGS 3 intro I looked at back in my earlier research, and I knew it was something I really wanted to add to my sequence
3D Camera 2
(Conducted 26/03/24)
This was a very basic test to get across how I want to create the 3D train idea. In the final product it will of course be a lot more polished with my own motion graphics elements. In this test I used the 3D camera, and decided to move the 3D elements, but in the final product (if I find it works better) I could move the camera itself instead.
This purpose of this experiment is to get an idea of the basics on what I need to do for my 3D motion graphics train effect. Going forward I plan to continue this and make it even better when I work on my final product.
Final Fantasy VII Research
(Conducted 25/02/24)
To aid with the development of my planning and overall project, I need to look into the context of the game Final Fantasy VII Remake itself. This will involve looking into the history surrounding the game, along with assessing the opening sequences contained within the games to help me get an idea of what my title sequence should be like.
I have research this to help me better understand what I need to include to be relevant to the source material.
The original game released on the PlayStation, with subsequent re-releases for modern systems, and has been praised for its storytelling, impressive use of the PS1’s technology, and bringing the JRPG genre into the eyes of a lot of western players.
The game is a turn-based JRPG (Japanese Roleplaying Game) with focus on story, characters, and worldbuilding. Most classic Final Fantasy games have a main gameplay gimmick (FFVI’s Esper system, FFVIII’s junction system, etc) and VII is no different, with its Materia system providing interesting strategy and customizability to your party’s build.
Looking at the genre, it is an interesting blend of Sci-Fi and fantasy, with a very unique style I should make sure to capture with my title sequence.
It follows the critically acclaimed 1994 Super Nintendo Entertainment System game Final Fantasy VI (originally released in the west as Final Fantasy III), but each mainline entry into the franchise is set in its own universe and tells its own self-contained story.
Final Fantasy VII has proven to be a timeless classic, spawning a franchise of its own, separate from Final Fantasy as a whole. It consists of multiple spinoffs, a movie, and ,of course, a remake.
Now for the remake. The game was announced in 2015, after years of fan speculation throughout the PlayStation 3 era and an original plan for a remake on the PlayStation 2 scrapped early on. It released on the PlayStation 4 in 2020, with a later PC and PlayStation 5 release in 2022.
The turn-based gameplay has been replaced by a real time gameplay system. This is faster paced and flashier, something that I should take into account when making my title sequence, to make sure it matches the pacing of the gameplay.
The game’s style has been modernised and updated, with state of the art graphics fit for modern gaming standards, and a more mature audience. This change in style gives me a lot more depth to work with in my title sequence, and I should consider how my sequence reflects the new, more mature take on the Final Fantasy VII universe.
1997 Opening Video
Now I will breakdown the intro credits for the 1997 original, to hopefully help form ideas for my own title sequence.
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Presents a very simplistic style, with text just floating in and out across a static screen. This could be representative of the gameplay, which is slower and more thought out, being turn based. It could also represent a calmer tone that the game is trying to get across, that perhaps the remake isn’t going for.
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The logo is constantly present in the back, really getting the idea of what you’re actually playing into your head. I feel like this could represent the idea of showing the big journey you’re about to embark on, something the franchise is known for.
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The music choice perfectly reflects the calm ambience that the intro is trying to convey, as well as being the franchise staple piece “Prelude” played at the start of every FF game.
2020 Opening Video
Onto the remake, which presents a very cinematic opening movie, showcasing an impressive CGI cutscene.
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It focuses heavily on setting the scene of Midgar, where the entire game takes place. This is an important thing to take note of for my title sequence, how the setting is conveyed to the audience. This is important as the purpose of a title sequence is to allow the audience to slip into the universe of the game.
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It utilises colour quite well, opening with the bright day to show us how Midgar, for how dystopian it is, can also be strangely quite beautiful and full of life. The switch to darker colours later represents the seedy underbelly of the city. I should consider how my use of colour reflects the tone of the game, and the setting.
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From this research I have uncovered a greater sense of the game's style, furthering my knowledge and confidence on how my final product should look. Moving forward from this, I need to greaten my skills in after effects so I can achieve the look I want.
Storyboarding Research
(Conducted 18/03/24)
Before getting started with my own storyboard, I decided to research them. The purpose of this was to understand how to compose a storyboard, with all the information needed to develop a video product from it. This is a vital stage of any video production.
Basics of storyboarding
A storyboard is a basic comic book-esque outline of every shot in a scene. It details the placement of the camera, characters, location, and whatever else in the shot. For most purposes storyboards should remain simple yet concise, in the form of sketches, and for my title sequence should include details like shot length and camera movement.
All video projects, be it movie, TV, advertising, etc, make use of storyboards to help understand a scene and make changes early on if necessary; this includes title sequences, as I will be making. In animation every shot will be storyboarded, but some live action directors opt to only use it for complex scenes.
Alfred Hitchcock famously had incredibly detailed storyboards made for every scene in his movies.
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I will be looking at a couple examples for inspiration.
The Iron Giant
This is a storyboard from the 1999 animated movie The Iron Giant, directed by Brad Bird. This showcases the way storyboards can be used to visualise the flow of a scene across a character's lines. Each panel shows the character's different expressions during different points of his line, very helpful for understanding how animated he will be in the final version. It also features a shot of the camera moving from one side to the next, useful for understanding how storyboards communicate this information. This board features text for the character's dialogue, as well as the sequence and shot number.
Looking at this board, I can see that I need to include text information in my storyboard, as well as communicate effectively what important details are going on in the frame.
Austin Powers in Goldmember
This is a storyboard panel from the 2002 live action movie Austin Powers in Goldmember, the 3rd film in the franchise. This panel showcases how storyboards show movement of the camera, characters, and elements in the scene using non-diegetic floating arrows.
This showcases something I could do in my storyboards, to help me better visualise my movement. It also shows me a very simplistic and sketchy style, inspiring me on the level of detail that should be required.
From this research I have uncovered techniques used in professional storyboards, and going forward I will be utilising some of these to help me better visualise and communicate my ideas during my storyboarding in planning.
Camera Angles Research
(Conducted 26/03/24)
This section of research will focus on looking at the different types of camera angles utilised in film.
The purpose of this section is to help me better understand what types of shots I need to collect from the game, for use in my title sequence, to pick the best and most effective clips to effect the audience in the way I want.
This is for film, but is still useful for me as games such as Final Fantasy VII Remake are incredibly cinematic and still comply to movie rules in their cutscenes.
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I chose to look at this very helpful article from StudioBinder, that breaks down the 10 most common types of shots in film, for inspiration on what kinds of shots from the game I should use. I will write what each one is, what it is for, and where I could use it in my title sequence,
Eye Level
The eye level shot is when the camera is placed at your subject's eye level. This is for when you want to give across a neutral perspective, providing no strong meaning or emotion at the current moment.
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I should find shots like this for my title sequence if I want to showcase a character or general subject in a relatively neutral way. This could perhaps be used for the protagonists of the game, or to present locations throughout the game.
Low Angle
A low angle shot is when the camera is placed below, looking up at a subject. The purpose of a shot like this is to give the subject a sense of authority or power, and make their towering or threatening presence known.
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I should use a shot like this for when I want to show one of the villains in the story, like Sephiroth, or perhaps some of the many minor villains that work for Shinra.
High Angle
A high angle is the exact opposite of a low angle, now being used to present a subject as weak and vulnerable. This can be used when an underdog subject is facing a power much greater than them.
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I could find shots like this of the Midgar streets, to perhaps represent the poor and downtrodden citizens of the undercity.
Cowboy Shot/Hip Level
Hip level shots are shots where the camera is placed, well, at hip level. This is named the cowboy shot as it is very useful when you have action occurring near the hip, like the drawing of a gun. It can also be useful for when you need to show a standing character beside a setting character.
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If I could find shots like this from the game, it would be useful for showcasing two characters or an action.
Knee Level
This shot is similar to a ground level shot, but is slightly higher, at the level of the subject's knees. It can be used if you, for whatever reason, want to focus heavily on the character's walking or other such movement. It can emphasise a feeling of mystique to the subject, perhaps being used if you wanted to mask their appearance.
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If I can find shots like this from the game, it would be really great for certain characters in the story, especially villains or other such sinister characters.
Ground Level
This shot is incredibly similar to a knee level shot, but is lower and more intense, being completely on the ground. This type of shot is useful if you really want to emphasise an actors performance in movement, if it helps build the character.
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Again, I could use this in my title sequence for the same reason I might want to use a knee level shot.
Shoulder Level
Shoulder level shots are slightly lower than eye level shots, and are usually more common. They are used to present your subject in a relatively neutral way, and make them seem taller than an eye level shot would. They can be used to make your subject look just that little bit bigger.
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I should use these for when I want to portray any of the games characters in a pretty neutral light.
Dutch Angle
Dutch angles are rather interesting, as they are a very unnatural angle to film something at. it is a shot that is slanted to one side, used to raise tension and create a sense of distortion. It can commonly be used to represent a characters dwindling mental state, or make something feel uneasy and "off". It can amplify the emotion present in a scene.
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This type of shot would be useful if I want to showcase one of the characters mental state, perhaps cloud or Sephiroth, to tie into the plot of the game. This is a shot I could even create myself, by simply rotating the video from the game, although it would need zooming in to fit with the aspect ratio.
Overhead Shot/Birds Eye View
This type of shot is when the camera is placed up in the air, looking directly down at a 90 degree angle. It is usually used for providing a perspective over the whole scene, but can also be used to represent a "divine" point of view.
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If I can find any shots like this, it could be really good for showcasing the setting of Midgar. It could maybe also be used to show a characters position representative of the world.
Aerial
An aerial shot is a shot from up high, usually used for establishing shots of the scenery and setting. A lot of the time, these shots are taken with drones, but of course for videogames this is not the case.
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This type of shot will be very useful for my project, as I have actually already planned to feature an aerial shot of the city of Midgar. This will allow me to establish the setting right from the start, allowing the audience to know exactly where the majority of the game will be set.
From this research I have uncovered all the types of camera angles to look out for when trying to put together the most effective title sequence. I have also uncovered the meanings that these angles can convey, and be used to represent, something that is very useful for my title sequence as I can use it to convey immediately who all the characters really are.
Moving forward from this, I will use all this as greater consideration for what shots I should use in my title sequence, hopefully improving my overall final product.